Rappers stole the show in the soundtrack of Fahadh Faasil’s Aavesham composed by Sushin Shyam — Dabzee, MC Couper, Malayali Monkeys, Hanumankind and Paal Dabba. Although Tovino Thomas’ latest release Nadikar opened to mixed review, the rap tracks went viral — MC Couper’s ‘Kireedam’ and Baby Jean’s ‘Komban’. ‘Kuthanthram’, yet another Sushin composition from Manjummel Boys, continues to garner views, having already crossed 10 million.
Rappers are scoring big time in Malayalam cinema with several composers working with them. Jakes Bejoy, Gopi Sundar, Vishnu Vijay, Ajmal Hisbullah, Govind Vasantha, Rahul Raj and Hesham Abdul Wahab have also featured rap artistes in their works over the years.
Arjun Sasi and Joslee, also known as Lonely Doggy, are among the first few rappers who have sung in movies, says Fejo, whose voice has been heard in over 20 films so far.
“There was a time when rap was used as fillers, theme songs and promo tracks. That is changing. One reason might be the popularity of the genre among the teens and those in their 20s. Also, some composers feel rap tracks can convey certain emotions better. This is an advantage for us. While the composer can introduce a fresh soundscape, we are able to reach out to more listeners,” says Fejo, who first sang in Maradona for Sushin.
He went on to sing in movies such as Naradan, Ranam, Arattu, Athiran, Operation Java (with ThirumaLi), King of Kotha and RDX.
Rapper Fejo
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MC Couper points out that the huge gap between film music and rap is getting reduced because of the arrival of proficient rap musicians and the quality of the music they produce, which opened up new avenues for them. “Earlier, rap or hip-hop music was associated with stylised shots or sequences in movies. Hip-hop has been a popular genre across the world and it is the same trend that is getting reflected in our music now,” says Couper, whose hits include ‘Neeyetha’ (Naradan), which he sang with fellow rapper, Marthyan, ‘Thalatherichavar’ (Romancham), and solo tracks ‘Super Sebastian’ and ‘Anjaalum Pathaalum’ which he wrote and sang in Purusha Pretham for composer Ajmal.
“‘Neeyetha’ [composed by DJ Sekhar] was a revised version of the track we already had recorded and it was used in the movie because the situation demanded such a song. In Purusha Pretham, hip-hop was used in the main soundtrack,” adds Couper, who has sung for Bijibal in Vadakkan, which was screened at this year’s Cannes Film Festival’s Marché du Film Fantastic Pavilion.
Rappers are not confined to that genre alone. For instance, Dabzee’s track ‘Illuminati’ in Aavesham and ‘Vatteppam’ in Mandakini.
“Artists are getting an opportunity to showcase their versatility and dynamics even as they are holding on to their identity as a rapper,” Couper says. To this Fejo adds, “ ‘Thannathaan’ (Naradan) was a reggae track, while ‘Ullasamo’ (Ullasam) was in country pop genre. ‘Kalaapakaara’ (King of Kotha) was a commercial number, whereas, in the same movie, I sang a hip-hop track with Shaan Rahman.”
Dabzee is of the opinion that doing playback is part of learning about new genres. “There is always an excitement to do something for the music I represent, which I call Malabar hip-hop; at the same time I need to upgrade my art,” says Dabzee. He has been on a roll ever since ‘Manavaalan Thug’ from Thallumaala, which featured rapper SA, went viral.
Rap artist Dabzee
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Aswin Prakash
He adds that singing in films is like a collaboration, which is all about “giving the best to the other artist. I am not a trained musician and so I am keen on breaking the boundaries of music. I am open to writing, composing or sing, whatever is required,” says Dabzee, who has sung in Jackson Bazaar Youth, Pulimada [‘Mada Trance’ which he wrote and composed] and King of Kotha.
Baby Jean, known for his distinct voice, chooses to look at the opportunities in cinema as the result of “all the hard work I had put in as an indie artist. An indie artist has to earn the audience and it is not easy.”
He adds, “It is a one-man show, involving a lot of sleepless nights. I write, compose, sing, record and market my songs. It took a year to release my first work. And when you want to make a music video, the task is cut out. You have to take care of everything, even the costumes,” he says.
The musician adds that singing in films brings more attention and recognition for indie artists. “It is an advantage since we get to write our songs as well. Once I get my audience, I can naturally introduce them to my independent works,” says Baby Jean, now acting in Khalid Rahman’s untitled movie.
Rapper Baby Jean
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Singer-composer Neha Nair, who scored the tracks of Nadikar with Yakzan Gary Pereira, mentions it was the director’s [Jean Paul Lal] idea to feature rap. “A fan of the genre, he was looking for a chance to use it in his movies. The tracks had to go with the lead character’s rockstar vibe. Baby Jean was chosen for ‘Komban’ because we love the way he uses his voice,” says Neha, adding, “It is interesting to collaborate with artists from different genres for they always bring something new and that exchange of ideas makes the process interesting. In ‘Kireedam’, we were inspired by the lyrics Couper wrote. It was he who came up with the hook phrase.”
Neha Nair and Yakzan Gary Pereira
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Sushin explains that he chose the indie artist line-up for Aavesham in keeping with the genre of the songs he composed. “Jithu [director Jithu Madhavan] was specific that he did not want melodies or typical rap tracks like ‘Kuthanthram’. Among the tracks, only Hanumankind’s ‘The last dance’ is pure rap,” says Sushin.
Voices galore
Female rappers who have sung in movies include Irfana Hameed, Rap Kid, Indulekha Warrier, Vivzy and VENO Miss
Jakes Bejoy featured Tamil rapper Arivu in Kumari and Asal Kolaar in King of Kotha
The artists were chosen for various reasons, he says. “’Galatta’ had a specific flavour and that’s why I went with [Tamil rapper] Paal Dabba. ‘Illuminati’ was a true blue commercial number, and I needed a different voice. That’s when Dabzee came into the picture. Nazriya [Nazriya Nazim, actor and co-producer of Aavesham] was also instrumental in selecting certain voices,” he says.
The musician observes that lyrics play a major role in the popularity of rap. “People are getting hooked to the lyrics more than the tune. As a composer, it is easy to work in the scenario where these artists write the lyrics and perform. I have to give the beat,” says Sushin, citing the example of ‘Mathapithakkale’ from Aavesham, which has Couper, one of the singers of the track, as co-lyricist.
Composer Sushin Shyam
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“Having worked with him in Romancham [‘Thalatherichavar’] I wanted a similar vibe in ‘Mathapithakkale’. The storytelling that he brings into his writing is so much fun, which I experienced while working with him in Romancham. For Aavesham, I gave him the beat and stepped out for half an hour. The lyrics was ready by then. Initially, I didn’t understand anything because of the speed of the rhyme!” Sushin says.
Vishnu, who did the rap track ‘Narabali’ in Nayattusays that he looks forward to work with more hip-hop artists. “At present there is space for all genres of music. Currently we have rappers from Malabar holding sway and so I would love to see rap from across Kerala. We need to tap into local nuances,” Vishnu says.
However, not all rap tracks get noticed, points out Fejo. “If the movie doesn’t do well, the songs are not talked about. I have had many such experiences,” the artist says.
Couper, meanwhile, talks about the risk of reaching the saturation point. “When everyone starts doing it, that is a probability. Also, rap is not everyone’s cup of tea since it is a self-empowering art form and therefore the lyrics do not have subtlety or romanticism. However, it is also true that acceptance will come in if we break the pattern and that is what is happening now,” he says.
